This chapter explains the research methods of this study. It is presented in four parts. There are types of the study, types of the data, data organizing, and analyzing the data and reporting findings.
A. Types of the Study
This study used descriptive qualitative research as a type of the study.
Qualitative research is usually used in the form of analysis and a profound understanding which is focused on the discovery of the content, meaning, and discourse of a text. The data used in qualitative research are usually not in the form of numbers but in descriptions or words which have always been the main focus of some fields such as psychology, linguistics, educational research etc.
(Miles and Huberman 1). Furthermore, qualitative research is generally used to understand people’s experiences and to express their perspectives (Johnson and Christensen 2014). From the statements, it can be concluded that qualitative data uses descriptive to describe everything in the form of words, sentences, monologues, or dialogues that contain meaning in the text not in the form of numbers. It aims to know and understand what is experienced by someone.
Thus, descriptive qualitative research was used in this study because it was the most important factor in making the most of information that was written by focusing on the meaning of the text rather than the quantity. By relying on text
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as the main data source, this study used a film script of Ingrid Goes West (2017) as the object of the study.
B. Types of the Data
The data in this study were categorized into primary data and secondary data. The explanation of the data was as follows:
B.1 Primary Data
Primary data refers to the main information that provides first-hand resources related to the object of the study. The primary data in this study were the dialogues and narratives shown in the film script in Ingrid Goes West (2017) film.
B.2 Secondary Data
Secondary data in this study included a range of scholarly writings related to persona and shadow archetypes from articles, e-journals, and e- books. These sources were carefully selected to support the explanation and clarification of the primary data used in the analysis process.
C. Data Organizing
Data organizing contained the steps in collecting data and types of data.
The data collection method in this study was conducted in a systematic steps as follows:
C.1 Primary Data Collection Method
In order to thoroughly capture the various meanings and perspectives in Ingrid Goes West (2017) film, the primary data collection method in this study emphasized the process of watching film and reading
the film script. In collecting the primary data, some procedures were used as follows:
1. Watching the Film
At this stage, watching film repeatedly was necessary. This aimed to understand the contents of the story about the conflict, characters, themes, and plot of the film. In addition, watching film repeatedly was done to feel the emotions as well as understand the most interesting aspect from the film.
2. Reading the Film Script
After watching the film several times, the next step was to read the film script of Ingrid Goes West (2017). It aimed to get the data in the form of sentences, narratives, prologues, dialogues, and descriptions, which were related to the topic that were to be discussed in this study.
C.2 Secondary Data Collection Method
Reading the secondary data aimed to identify the secondary data in this study. The secondary data in this study included a range of scholarly writing related to Carl Jung’s archetypes of persona and shadow from journal articles, chapters in a book, etc. These secondary sources were carefully selected to support the explanation and clarification of the primary data used in the analysis process.
C.3 Identifying the Data
This stage was to identify data sequentially from the beginning to the end to find out some parts of the object that were analyzed. The first
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step taken at this stage was to separate several scenes contained in dialogues, monologues, and descriptives related to the two problem formulations. To make it easier to identify the data, the primary data in the form of a film script were identified by noting the minutes and seconds of the dialogues related to the two problem formulations. Then, highlight the dialogue and monologue by giving two different color codes related to the two problem formulations. Pink for all data related to problem formulation 1 and blue for all data related to problem formulation 2. Likewise in identifying secondary data taken from scholarly articles, what was done was to highlight the data with a blue color code related to persona and pink for shadow.
C.4 Classifying the Data
In classifying the data, the data that had been identified were grouped based on the problem formulations of the study. All the identified data were classified into a table called appendix. The appendices provided some columns consisting of numbers, quotes, type of the data, minutes, type/answering problem formulations, references, and comments.
Considering that there were two problem formulations discussed in this study, the appendix contained two tables.
C.5 Reducing the Data
After identifying and classifying the data, the data were reduced into smaller numbers. The data that looked the same were less strong and had no correlation with the problem formulation were removed and were
not used to answer the problem formulation. The purpose of reducing the data was to make it simple and to reduce some less important data or weak data in answering the problem formulation.
D. Analyzing the Data and Reporting Findings
The final step was to analyze the data and report the data analysis. This stage was the finalizing of the data that had been analyzed. This study used a qualitative method by collecting data in the form of dialogues, monologues and narratives from the film. Qualitative data in this study was analyzed using a psychological approach. Each statement from this study was supported by data found from film, film script, e-journals, articles and e-books related to the study.
This study used Ingrid Goes West (2017) film as the object of the study. This study analyzed the persona and shadow archetypes using Carl Gustav Jung’s Analytical Psychology in archetypes. The analysis and findings were reported in Chapter IV.
27 CHAPTER IV
FINDINGS AND DISCUSSION
This chapter consists of findings and discussion about persona and shadow in Ingrid Goes West (2017) film to answer the two problem formulations as mentioned in chapter one. This chapter focuses on analyzing persona and shadow reflected on Ingrid Thorburn in Ingrid Goes West (2017) film.
A. Persona Reflected on Ingrid Thorburn in Ingrid Goes West (2017) Film This section aims to answer the first problem formulation regarding the persona that reflected on Ingrid Thorburn in Ingrid Goes West (2017) film. The persona of Ingrid appears when she pretends to be Taylor’s animal rescuer.
“At its best, it is just the “good impression” we all want to make as we fill the roles society requires of us. But, of course, it can also be the "false impression" that we use to manipulate people's opinions and behaviors. And, at its worst, it can be mistaken, even by ourselves, for our true nature: Sometimes we believe we are who we pretend to be!” (Boeree 7).
People have a persona or mask inside of them. This persona helps them to achieve what they want even in certain situations when socializing. However, by using the persona, it is possible that they are only pretending to be doing something that is considered good so that their wishes are fulfilled. They could be lying. Therefore, the persona they show can leave a good impression even to strengthen a relationship or to get certain attention. Persona of Ingrid appears
when she tries to get to know Taylor. To get her wish fulfilled, Ingrid does things in the wrong way to get to know Taylor as we can see in the quote below:
EXT. TAYLOR’S HOUSE - NIGHT
Taylor exits, followed by her husband, EZRA O’KEEFE, 33, now sporting an impressive beard. They hop into Taylor’s Mercedes and she backs out of the driveway.
ANGLE ON - INGRID
She watches them from the shadows of a nearby alleyway, holding an In-N-Out bag and sucking on a milkshake.
Ingrid tip-toes up to the gate, looking both ways. Rothko appears at the window, BARKING incessantly. Ingrid crouches low, hurrying around the side of the house. She tries one of the windows. Locked.
Then another. Also locked.
Ingrid continues around to the back of the house, trying every window until finally one OPENS revealing a small powder room.
Ingrid tries climbing inside but it’s too small.
ANGLE - INSIDE THE HOUSE
Rothko comes sprinting up to the window with his teeth bared.
Ingrid pulls out a loose hamburger patty, holding it up.
INGRID: “Here! Want some?”
Rothko stops barking and sits, eyes trained on the patty. Ingrid dangles the meat inside the window, just out of his reach. Rothko JUMPS up and down, trying to get at it.
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INGRID (CONT’D): “Come on, Rothko. Come on, boy…”
Ingrid grabs Rothko mid-jump, pulling him outside.
INT. GUEST HOUSE - NIGHT
ECU: Rothko’s face, barking incessantly.
Ingrid stands above him, desperately trying to placate him. (Smith and Spicer, 00:17:20-00:18:21)
EXT. VENICE STREET - MORNING
ECU: A “MISSING DOG” poster with an artfully-shot photo of Rothko from Taylor’s Instagram is tacked to a telephone pole.
REVEAL Ingrid staring at the poster. She rips it down and slips it into her purse, walking away quickly.
INT. GUEST HOUSE - DAY
Ingrid is on the phone, holding the MISSING DOG poster.
EZRA (V.O.): “Hello?”
Ingrid freezes. She wasn’t expecting a man’s voice.
INGRID: “Um, hi... I’m calling about your dog? I saw your poster” --
EZRA (V.O.): “Oh my God! Rothko! Is he okay?”
INGRID: “Yeah, he’s totally fine.”
Rothko is lying on the floor, chest heaving, surrounded by empty fast-food wrappers and Cheetos bags.
EZRA (V.O.): “Where do you live? I’ll come by right now.”
Ingrid looks around the empty apartment.
INGRID: “Oh, I’m... stuck in traffic. Why don’t I swing by your place in, like, twenty minutes?”
EZRA (V.O.): “Perfect.”
INGRID: “Great! See you then.”
EZRA (V.O.): (confused) “Don’t you need the address?”
Ingrid silently curses at herself for being so careless.
INGRID: “Yep. Ready when you are.” (Smith and Spicer, 00:19:49- 00:20:41)
From the quote above, it proves that her persona appears when she pretends to find Taylor’s missing dog. She calls Taylor’s number on the poster about the missing dog. She seems to be a hero for helping in finding Taylor’s dog which is known to be missing. In fact, the truth is that she sneaked into Taylor's house to steal the dog. Therefore, the lie that she does makes her look like an angel in front of Taylor. She is willing to do this because she has another purpose. It is all done for the sake of fulfilling her wish to be able to get acquainted with Taylor and become her friend. Thus, she hides her bad side as a thief by bringing up her persona that is she pretends to be a hero who finds the dog.
Another proof of Ingrid persona is when she meets Taylor and Ezra in their house that is shown in the following quote:
TAYLOR (CONT’D): “Oh my god, thank you! We were so worried.
You have no idea. (extends her hand) Hi. I’m Taylor.”
CLOSE on Taylor’s perfectly-manicured hand. Ingrid stares at it. She’s been waiting for this moment. Their hands touch.”
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INGRID: “Ingrid.”
TAYLOR: “This is my husband, Ezra.”
EZRA: “Hola. Where’d you find him?”
INGRID: “Oh, just... a few blocks from here.” (Smith and Spicer, 00:20:58-00:21-20)
Based on the quote above, it shows that her persona appears when she meets Taylor and Ezra in their house. She lied about where she found Taylor’s missing dog. She still goes through with her plan to lie about what really happened with their dog. She seems to be faced with a situation where she has to play as an angel in finding Taylor’s dog. It is as if she found Taylor’s dog in the place she mentioned. It is the false impression that Ingrid creates to pretend to have a good personality. However, it is the first way that she does so she can get into Taylor’s life. Thus, Taylor and Ezra will see her as a good person.
Another persona proof is shown when she tries to build a good conversation while talking to Taylor and Ezra. Jung believed that persona is necessary because people are forced to play many roles in life in order to succeed at school, at work and to get along with various people (Schultz 110).
Based on the statement, it proves that people need a persona. It is because they are required to get good treatment when showing their personality in society.
So, they can adapt well and be accepted in their environment. It can arise when people are faced with certain situations such as the social environment as Ingrid does in the quote below:
EZRA: “Hope you don’t mind if we improvise a little.”
Ingrid seems slightly intimidated by how nice everything is.
INGRID: “I feel like I’m at a restaurant.”
Taylor smiles, handing the finished drink to Ingrid.
TAYLOR: “More like Kitchen Nightmares.”
Ingrid takes a sip. It’s the best drink she’s ever tasted.
INGRID: “Holy shit. This is amazing.”
Taylor stares at Ingrid with a flicker of recognition.
TAYLOR: “Have we met before?”
INGRID: “(nervous) No. Definitely not.”
TAYLOR: “Huh. Your face looks so familiar.”
Awkward silence. Ingrid is desperate to change the subject.
INGRID: “You mind if I use your bathroom?” (Smith and Spicer, 00:22:28-00:22:25)
INT. HALLWAY - TAYLOR’S HOUSE - DAY Ingrid wanders down the hallway towards the bathroom.
INT. KITCHEN - TAYLOR’S HOUSE - MOMENTS LATER Ingrid sits back down. Taylor snaps her finger, realizing.
TAYLOR: “I know where I saw you!” (off Ingrid’s look)
The Echo Park Craft Fair! You were selling those Bolivian clay pots.
INGRID: “I actually just moved here a week ago.”
EZRA: “Maybe you’re confusing her with one of your crazy internet fan-girls.”
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Ingrid tenses up. Taylor touches her arm, reassuringly.
(Smith and Spicer, 00:24:33-00:24:55)
Based on the quotation above, it can be seen that her persona appears when she tries to connect with Taylor and Ezra. Ingrid shows her manners when she is in the kitchen with them. She talks about how good the kitchen and the drinks that Ezra served. She shows off her persona through her easy going person and she looks very happy when she is talking to them. Thus, their conversation flow becomes better. To keep her persona, she responds to Taylor’s statement that they have met before by changing the conversation and pretending she wants to go to the bathroom. However, by the time she returns, she is surprised when Taylor talks about where they met again. Ingrid has to respond in a calm manner so that Taylor and Ezra will not suspect her.
Ingrid’s persona is that she spontaneously buys Ezra’s painting without thinking about the amount and her finances at the time. Jung believed that to be psychologically healthy, people must strike a balance between the demands of society and who they really are (Feist and Feist 107). People should be able to balance between the persona and their true self. People need a persona that is shown according to their portion. However, people should also not live too much in their persona. It will make them pretend in order to meet the expectations of their environment or get appreciation or a good impression. It can also be seen in Ingrid as the following quote:
INT. GARAGE - TAYLOR’S HOUSE - NIGHT
A three-shot of Ingrid standing between Taylor and Ezra, staring thoughtfully at a painting out of frame.
EZRA: “I guess you could label it “pop art” but I’m not sure yet.”
REVERSE SHOT of a wall of canvases featuring Ed Ruscha-style paintings of popular phrases like “CURRENT MOOD” and “ON FLEEK” and “I CAN’T EVEN” over classic American landscapes.
INGRID: “I love this.”
Taylor smiles at Ezra, squeezing his arm encouragingly.
INGRID: (CONT’D) “Are any of these for sale?”
EZRA: “Uh... I mean, not technically” –
TAYLOR: “(cutting him off) Yes. Of course they are.
Ingrid approaches a painting that reads “SQUAD GOALS” over an image of wild horses galloping through a field.
INGRID: “How much is this one?”
Ezra looks to Taylor for guidance.
EZRA: “How much did we say “Squad Goals” was, babe?”
TAYLOR: “I think it was twelve hundred?”
Taylor and Ezra watch as Ingrid reaches into her clutch and pulls out a wallet filled with CASH. She counts out twelve hundred dollars and hands it to a stunned Ezra.
TAYLOR: “(CONT’D) (smiles) I’ll grab the champagne.”
EXT. BACKYARD - TAYLOR’S HOUSE - NIGHT
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Ezra is filling Taylor and Ingrid’s glasses with champagne.
TAYLOR: “To Ingrid. Rescuer of dogs, patron of the arts, and all around good neighbor.”
EZRA: “Salut!”
They all cheers. Ingrid blushes, smiling as she takes a sip. (Smith and Spicer, 00:25:34-00:26:08)
Based on the quote above, her persona appears when she is curious about Ezra’s painting. By catching Taylor’s attention, Ingrid shows her interest in Ezra’s painting. She is even willing to buy one of the paintings in cash. It makes Taylor and Ezra surprised and very happy. She is willing to buy the painting with money inherited from her late mother. It is what is called a persona that can be seen through her kindness. However, it makes her not realize that she has to survive with the money she has. In order to make others happy, Ingrid is willing to do anything to get appreciation for her kindness. Thus, she can get closer to Taylor. She hopes to leave a very good impression on Taylor by helping to buy Ezra’s painting on her own terms.
Another proof of her persona can be seen in the following quote:
TAYLOR; ‘Oh, you’ve got to be kidding me.”
EZRA: “What’s wrong?”
TAYLOR: “Ahna cancelled on me again. I can’t even deal with her right now.”
Ezra rubs Taylor’s back, consoling her.
EZRA: “Babe, don’t worry. We’ll figure it out.”
INGRID: (concerned) “Is everything okay?”
Taylor sighs, gesturing to the AIRSTREAM in the driveway.
TAYLOR: “We bought that monstrosity at an estate sale and I’ve been trying to move it out to our place in Joshua Tree but my old Mercedes can’t tow it. My friend has a truck but she keeps flaking on me –”
INGRID: “(blurting out) I have a truck.”
Taylor and Ezra look at Ingrid, surprised.
TAYLOR: “Oh, no... I couldn’t. You’ve done so much for us already.”
INGRID: “No, really. I don’t mind.”
EZRA: “Great. Problem solved.”
Taylor gives Ezra a look, feeling put on the spot. Ingrid picks up on this, adding:
INGRID: “I was actually thinking of going out there soon anyway. I don’t really know anyone here yet and you both seem like nice people.
BEAT. Taylor smiles, warming to the idea.
TAYLOR: “Okay, yeah. How’s this Saturday?”
INGRID: “Perfect!”
TAYLOR: “Here, I’ll give you my number.”